★ 30 DtD Chaconne. Recorded it again?  Need to go back and record flavor variations.

★ 30 DtD. Giga.  Was able to play with Judy Loman's recording. Recorded.

Recorded Tambourin and Prelude 4.

Need to live with these recordings for a week.

Goals:
★ Scales. Yep.
★ Finger mechanics. Yep.
★ 30DtD Danza. Worked on small sections. Section that still needs work: the 4-bar 8th notes. There are some jumps that will take some more work. Also, it's hard not to play this loud.
30DtD LGR. Holy crap my fingers still hurt. I better be building excellent calluses.

Goals:
Get as much done before going out to see Suuns!
Scales. Emphasized different beats - very difficult. Probably should try this at different speeds before the week is up.
Finger mechanics. Yes.
30DtD LGR. Worked on small sections, with dynamics, slowly, and I think it was a big help. Didn't play through with hands apart, because 1) Suuns, and 2) I don't see the benefit since this is a lot of switching between hands, and 3) my fingers were killing me at this point.
30DtD Danza. See above re: fingers killing me. And going out.

★ Start scales week 3
★ Finger mechanics
Finish up week 1 of 30DtD with Danza and LGR and start week 2. Even though there was a rest day built in, I needed more than one, apparently.
  ★ LGR - I re-read the intro for Solos for the Harp Player, and learned (again?) that LGR was "suggested" by the Robert Louis Stevenson poem. I'm interpreting the loud part in the middle as the disruption of the water, but maybe something more profoundly darker and terrifying. Worked on smaller sections with dynamics.
  ★ Danza - Found the wiki article about Ernesto Halffter as well as a little info about the ballet (Sonatina, 1928) Danza is from. I can't find any info about Danza de la Pastora itself.  I'm going to try to make it as light as possible. Tried working on small sections, and wasn't really able to pay attention. Went back to this and worked a little harder. It's really repetitive and I managed to get some patterns in my hands.
★ Try to get to one section of Automne. Got two sections done.
★ Decide what to do with Grey Donkeys. I think I just need to set this aside for a while.
Sort through music. May need to make a list, since most everything is in one book.

Goals:
★ Scales week 2. I was having a lot of problems with the different rhythms, but then my counting and playing clicked and I kind of got it. I was able to play through the whole thing. I did sections CDE yesterday and AB today.
★ Finger mechanics. Did a couple repeats and stretched.
★ 30DtD LGR. Did this one first and it seems to be coming together. It's difficult not to do detail work, but kind of a relief at the same time.
★ 30DtD Danza. This was easier today. I played hands separately at 3/4 speed, which I had judged to be ♪=176, so 132, and was surprised by how well I did.
This all took about an hour. Not sure what I was doing the past couple days that it took 3.

Goals:
★ Speed up scales. Um... these need work.
★ Finger mechanics. I've forgotten over the years how good it feels to stretch my fingers like this. I need to do this ALL THE TIME.
★ 30DtD Danza. I think I got all the arrangements done as far as replacing the alternating 10ths. Difficult on harp, how do they even play this on the piano.
☆ 30DtD LGR. This is a really hard freakin' piece. Worked hard on two small sections and ran out of energy. Need to do this one first tomorrow!
☆ Section of Automne. Sort of got one?
_______________________________________________
This was another 3 hours! There is not enough time to do what I want. Also, my stamina was shot.

Section of Grey Donkeys. Didn't even get to this.

★ Start scales week 2. I was a little disappointed by how slowly I'm playing, however I have all week to speed up. My right thumb still gets my bicep in on the action.
★ Finger mechanics
☆ Day 3 of 30DtD with LGR. I'm not sure this is the best way of reviving this. I am getting a little more familiar with it again. It's just really hard to play this one hands apart. Although maybe it'd be a really good counting exercise. Also trying numbering my dynamics. I also have problems playing separate dynamics in each hand.
★ Day 2 of 30DtD with Danza. I did the first and last sections. Thank goodness for music that repeats.
★ Work on memorizing Automne with dynamics. I went through my chart and figured out what I need to work on. Dynamics were suspiciously easy to play around with.
☆ Work on one section of Grey Donkeys. At this point I had been practicing for almost 3 hours. And I worked on three chords instead of the six measures in that section.

All this with a headache, too.

Goals:
★ Finish scales week 1
★ Finger mechanics
☆ 30 DtD on LGR - ran out of time
★ 30 DtD on Danza
Ran out of time (1 hr or practicing)                      
Automne section
Grey Donkeys section

Today's goals:
Play one measure of LGR with dynamics*
Do scales exercise
Plot out memorization for Automne
Pick section of Grey Donkeys to work on and work on it - from practice chart

*Work on scale dynamics before getting disappointed trying to do this on LGR?

Achieved
★ Scale mechanics - right thumb is weak
☆ Worked on section of Grey Donkeys, and wore myself out, so it was nice to have the next activity to do. Try not to do too much too soon.
★ Made a practice chart for Automne, divided it up, and put dates on it. I hope I can beat those dates, since I've already done a ton of work on it.
☆ Played a few notes of LGR measure. It's hard to hear with a fan going, and today, I am not turning the fan off.

Thinking about setting up scheduled posts for daily goals and filling in the Achieved section after practicing.

★ Not sure gold stars are helping. ★☺

I finished editing what I could for my album. I now know exactly what I need to work on. Or I should say, which pieces I need to work on. There are several "what to work on"s that could be applied to each piece.

I checked out "Sound In Motion" by David McGill. It explains Tabuteau's numerical method for creating "greater musical expression". Because, dayum, my playing is pretty boring.

I tried to apply the dynamic number system to one of the pieces and realized how little control I have over my fingers - I can neither play at the volume I expect, or play the same volume with the same finger consistently.

My next goal is to apply this method... methodically to Looking Glass River.

Still working on memorizing Automne.

Still working on being able to play Grey Donkeys at all.

Also, doing the scales Monthly Mastery Theme over at myharpmastery.com. Hopefully that will help with control over my fingers, or at least point me in a good direction to achieve that.

Using the new practice session structure yesterday I worked on scales from Poetical Studies, ran through Preludes Intimes, and worked on Srebotnjak's Prelude 4.

Notes on the session: I want more speed out of my scales, but can't do that until I've warmed up? It takes a while and takes too much time out of my limited practice time? Will I loosen up over time to the point where I can sit down and bang out some scales quickly? I need to learn the last 2 Prelude Intimes.

Today, I worked on arpeggios from Poetical Studies. I ran through Solfegietto and the first few pieces in Medieval to Modern. Ran out of time.

Notes: My hands feel great.

Sos. Or, "Wow" - with my fingers on the correct keys (although SOS could be appropriate) - I didn't write here that I finished the first draft of my album, ie I got Giga recorded.

However, it's crap, and I'm going to have to re-record it. Editing is underway, which is how I know Giga is crap. Some other things are crap, too, but that may be ok because my microphone was broken during that session.

After getting my album "done", I slipped on practicing (hence the "SOS").  I found a couple resources that helped get me inspired to practice again: http://harpmastery.com/ which is a website run by Anne Sullivan who blogs helpfully and frequently about being better at the harp, and http://fiddlehed.com/ which is a website created by Jason the Fiddlehed who teaches fiddle through multitudinous youtube videos where you can find lesson plans and strategies as well as an extremely helpful daily lesson outline.  Both are extremely encouraging teachers.

Today, I'm running a little behind in my schedule, so I only got to warm up and work a little on Prelude 4.  I'm going to try going over pieces I already know in future sessions, as recommended on fiddlehed as well as an article I read about Salzedo that said he went though an entire recital repertoire once a week.

After all the technical work, Giga now sounds boring.

Options for making it more interesting:
+ Really, really exaggerate the phrasing. Like, REALLY. And record it and see if anything sounds good. (searching duckduckgo brought up a lot of "How to be interesting" articles. Pursue later. Right now, FOCUS.) (Practice these things in small chunks/phrases.)
+ Painting the scene chapter
+ Play along with the recording I really like

Add more as I think of things.

I also need to go back to exaggerating Berceuse. Need to do that and record.

And I need to do that for Prelude 2.

While trying to improve Giga by visualizing, I realized there are repeated themes in different keys, but using completely different fingering and splitting the chords between two hands differently, which may explain why I can't remember how to play either of them. And why it's exhausting to visualize.

Berceuse needs test recording, or I need to listen to my other recording to remember how I want to play it.

Started some good work on Prelude 2, need to chain the rest of page 1 and first part of p 2.

After an epic heatwave (for Portland) I got back to Giga. I got out the red pen and listened to my practice recordings. The first repeat is a source of constant trouble. Reading Practicopedia chapter "Clearing Obstacles" to see if it helps.

Berceuse seems ok. Need to record that to see if it still sounds like what I want.

Prelude 2 is ok. Need to work on trouble spots.

Prelude 4 needs a lot of detail work.

And I'm going to have tater tots for dinner because now I can actually use my oven without my apartment nearing temperatures that would melt the One Ring.

ETA: I might try visualization - last chapter in the book - along with chaining.

Getting closer to having Fuga sound melodic. Listening to the recording I made yesterday with each successive time having more pauses and changes in tempo was an eye opener. I just need to get it to the point it's something I want to listen to.

I need to figure out how to get trills in Tambourin the same EVERY time.

Worked on Arabesque 2 again and certain parts are making more sense. Maybe this is how I have to learn challenging pieces - intensive work with a break of a few months, then more intensive work?  It gets done in the same amount of time, but takes less effort?

Fuga - Tried to work on the whole page by creeping up on the speed instead of chaining and it seemed to work better.  Is that a better way to cement lines I've already learned?  126 - 126.

Tambourin - Still really uneven - I can play a line once, then not, then again. ???

And my 2nd octave E broke. I had just replace it this past July. >:(

Things went a little better today. I still don't know how I'm going to start Rigaudon as the pages other than the first one seem to be a little easier to play. Trying to play faster seems to be the ticket to playing in time.

Working line by line on Fuga now. Re-vamped the typical practice plan to see if measure/line/page progression goes better.

Not sure what to do about Tambourin.

While singing/humming/la-ing Rigaudon in my head today, I realized I would like it just as well if I got rid of the 4-3-2-1 trill and substituted a grace note. So another change to cement into my hands.

Tambourin is actually at speed.  I surprised myself. I'll need to listen to a recording to see if the trills actually come out. Correction: I'll first need to record it, then listen to it.